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International audience ; This article analyzes the digital environment that accompanied the development and publication in 2018 by Lattès of the novel Empreintes de crabe by Patrice Nganang. Designating himself as a "digital man", the writer presented his growing use of the Internet as the result of a crucial turning point in 2011. Evoking firstly the stages of this trajectory and its political and poetic stakes, the essay compares secondly the born-digital material produced by Nganang with his other writings regarding the novel Empreintes de crabe. These texts include an interim manuscript finalized in 2013, which the author has reworked by making greater use of social networks, in particular Facebook and Twitter. Based on diversified textual material, including Nganang's interventions in a digital public space, the article describes the genesis, which is partly digital, of a novel informed by a web poetics at the crossroads of the screen and the printed book. The exhibition of this literary production outside the book as object allows in particular to redirect it towards a Cameroonian public whose long-repressed historical memory is, within this novel, in part rehabilitated. ; Cet article analyse l'environnement numérique qui a accompagné l'élaboration et la parution en 2018 chez Lattès du roman Empreintes de crabe de Patrice Nganang. L'écrivain a présenté son recours croissant à l'internet, faisant de lui un « homme-numérique », comme le fruit d'un tournant crucial pris en 2011. Évoquant les étapes de cette trajectoire et ses enjeux tant politiques que poétiques dans une première partie, l'étude propose dans une deuxième partie de mettre en rapport, à partir du roman Empreintes de crabe, les textes nativement numériques produits par l'auteur avec ses textes non nativement numériques, y compris un manuscrit d'étape finalisé en 2013, avant d'être retravaillé en mobilisant davantage les réseaux sociaux, en particulier Facebook et Twitter. En s'appuyant sur une production discursive multiforme, y compris des ...

International audience ; This article analyzes the digital environment that accompanied the development and publication in 2018 by Lattès of the novel Empreintes de crabe by Patrice Nganang. Designating himself as a "digital man", the writer presented his growing use of the Internet as the result of a crucial turning point in 2011. Evoking firstly the stages of this trajectory and its political and poetic stakes, the essay compares secondly the born-digital material produced by Nganang with his other writings regarding the novel Empreintes de crabe. These texts include an interim manuscript finalized in 2013, which the author has reworked by making greater use of social networks, in particular Facebook and Twitter. Based on diversified textual material, including Nganang's interventions in a digital public space, the article describes the genesis, which is partly digital, of a novel informed by a web poetics at the crossroads of the screen and the printed book. The exhibition of this literary production outside the book as object allows in particular to redirect it towards a Cameroonian public whose long-repressed historical memory is, within this novel, in part rehabilitated. ; Cet article analyse l'environnement numérique qui a accompagné l'élaboration et la parution en 2018 chez Lattès du roman Empreintes de crabe de Patrice Nganang. L'écrivain a présenté son recours croissant à l'internet, faisant de lui un « homme-numérique », comme le fruit d'un tournant crucial pris en 2011. Évoquant les étapes de cette trajectoire et ses enjeux tant politiques que poétiques dans une première partie, l'étude propose dans une deuxième partie de mettre en rapport, à partir du roman Empreintes de crabe, les textes nativement numériques produits par l'auteur avec ses textes non nativement numériques, y compris un manuscrit d'étape finalisé en 2013, avant d'être retravaillé en mobilisant davantage les réseaux sociaux, en particulier Facebook et Twitter. En s'appuyant sur une production discursive multiforme, y compris des ...

Prenant pour point de départ la situation de la production littéraire africaine en France, entre invisibilité et surexposition, cet article illustre ensuite les contraintes qui enserrent ses contenus et ses formes esthétiques depuis les années 1980 à travers le cas de deux collections éditoriales, « Monde noir » et « Continents noirs », respectivement créées par Hatier (dès 1977) et Gallimard (en 2000). S'appuyant sur des données bibliographiques, des archives et des entretiens menés auprès d'écrivain·e·s et d'agents culturels, il restitue les médiations sociales et les négociations qui régissent les activités littéraires dans ces collections dotées de périmètres de définition essentialistes.

International audience ; How does a literary work become a 'classic' when its author is from francophone sub-Saharan Africa, one of the most deprived areas of the world according to international cultural standards? If there are names such as Léopold Sédar Senghor and Ahmadou Kourouma that are well-known everywhere, why are other writers little-known in their home country and praised in Europe, while Aminata Sow Fall and Seydou Badian – studied and discussed in Senegal and in Mali – remain overlooked in France?Far from an individualist approach, which would see the explanation of this situation in the progression of singular literary careers, this book proposes a collective social history of these writers in the twentieth century. To this end, two major protagonists are identified: cultural intermediaries ––mainly publishers – showcased in the first part; and writers born and/or socialized in francophone sub-Saharan Africa, whose literary, social and geographic trajectories are studied in the second part. Their reputations and positioning are located in relation to one another in an African literary space undergoing major changes. The empirical material comprises interviews with writers, publishers, and cultural agents; ethnographic observations of cultural events; literary texts; archives; and a statistical survey of 404 writers who were socialized in this part of the world, and who were active between 1983 and 2008. The research undertakes an analysis of classifications, along with the opportunities and discourse attributed to these authors by journalists, literary critics and publishers. Their legitimation follows two waves: the first begins in the early 1980s and the second in the mid-1990s. The increase in the number of publications, the importance of the novel in the hierarchy of literary genres, the state of the publishing industry in sub-Saharan Africa and in France, and the circulation of authors from one country to another combine to structure an African literary space: – the main stakes of which being the legitimate definition of an 'African writer' and the nature of the writer's relationship to Africa. The authors located in this space are socially elite and often mobile. From the 1980s onwards, the number of new female writers increased steadily; writers became more professionalized and more often settled outside Africa. These evolutions fit into global reconfigurations: the domination of English in transnational cultural exchanges, the appearance of the category of world literature, a declining recourse to political paradigms in the French literary field from the seventies onwards, and the general disengagement of African states from the cultural sector. These tendencies have shaped the reception of these authors and their access to literary recognition. Publishers in Paris, partly dissociated from those based in African countries, have played a decisive role in the book market. The appearance of a new kind of recognition influenced by the media accounts for varying levels of success of the different literary generations. The book also looks back at the genesis and chronicles of polemical episodes such as the election of Senghor to the Académie française, and the controversy surrounding the 'Toward a World Literature in French' manifesto, published in Le Monde des livres in 2007, which embody divides and long-term evolutions of the African literary space. Overall, this book reveals the symbolic and material mechanisms by which contemporary writers from francophone sub-Saharan Africa have become, in various forms, 'African classics'. ; Comment une oeuvre littéraire accède-t-elle au rang de "classique" lorsque son auteur est issu d'Afrique subsaharienne francophone, l'une des zones les plus déshéritées du monde selon les standards culturels internationaux? Si les noms de Léopold Sédar Senghor et d'Ahmadou Kourouma se sont imposés partout, pourquoi d'autres auteurs, portés au pinacle en Europe, restent-ils peu connus dans leurs pays d'origine, quand les textes d'Aminata Sow Fall et de Seydou Badian, étudiés et discutés au Sénégal et au Mali, ne le sont pas en France ? Ce livre propose une histoire sociale collective de ces écrivains depuis1960. II distingue deux protagonistes majeurs : des intermédiaires culturels (organisateurs de festival, éditeurs, agents littéraires), souvent français, et des auteurs nés et socialisés en Afrique subsaharienne francophone, dont les trajectoires sont situées les unes par rapport aux autres dans un espace littéraire africain en recomposition. Nourri de nombreux entretiens, fondé sur le dépouillement d'archives inédites et sur une étude statistique, cet ouvrage majeur décrit par quels mécanismes symboliques et matériels des oeuvres d'écrivains originaires d'Afrique subsaharienne francophone sont devenus, sous différentes formes, des classiques africains.

Depuis le milieu des années 1990, la catégorie de classique a été de plus en plus souvent et rapidement appliquée aux auteur-e-s issu-e-s d'Afrique par la critique et les institutions littéraires spécialisées en littérature africaine de langue française. Pour comprendre cette situation, l'article s'appuie sur une enquête ethnographique et statistique pour restituer les paramètres historiques et sociologiques de l'accès à la reconnaissance puis à la classicisation littéraires de ces écrivain-e-s. L'étude des fluctuations du marché du livre, de l'évolution des institutions littéraires spécialisées, des carrières éditoriales et des propriétés sociales de ces auteur-e-s permet de montrer qu'une forte sélectivité culturelle et sociale régit l'obtention d'un seuil minimal de reconnaissance littéraire. Le recours aux grands éditeurs français et l'appartenance générationnelle jouent en outre un rôle déterminant pour la minorité numérique d'écrivain-e-s accédant au statut de classique africain, au détriment des écrivain-e-s ayant publié leur premier titre à la fin des années 1980, dans un moment de reflux entre deux vagues transnationales de légitimation de cette littérature. L'importance des éditeurs puis des médias français dans l'accès à la consécration internationale de ces auteur-e-s, qui se sédentarisent de plus en plus hors de leur continent d'origine, reflète un ordre mondial inégalitaire.

Résumé La notion de « mélancolie postcoloniale » permet de caractériser le traitement que les instances littéraires françaises (maisons d'édition, presse, prix littéraires, réception critique) réservèrent à un ouvrage portant sur la période coloniale, comme le montre l'étude sociologique des conditions de production et de réception du roman Monnè, outrages et défis , de l'auteur ivoirien Ahmadou Kourouma. Alors que l'écrivain voulait, avec ce livre, dénoncer le colonialisme, il a souffert de sa réception immédiate et a modifié par la suite l'orientation de son écriture, en se tournant vers des sujets plus actuels. Prêter attention à l'espace des possibles de la représentation littéraire de la colonisation par des romanciers originaires d'Afrique subsaharienne francophone, des années 1950 jusqu'en 1990, permet de mettre en évidence des effets de champs ayant agi sur le projet originel de Kourouma. La dépendance de la littérature africaine de langue française publiée en France vis-à-vis d'un champ littéraire français où la conception de la littérature engagée a fait son temps, a ainsi été intériorisée et transmuée par l'écrivain, à travers l'élaboration d'une forme littéraire originale.

There is no clear precision on the epidermis of the characters created by Marie Ndiaye in the texts she wrote from 1985 to 2000. In most cases, the reference reason for their hesitation is still enigmatic. However, Rosie Carpe (2001) and Papa must eat (2003) differ from this option: this novel and then this theatre explicitly name this former blind dot. The presence of characters known as 'black' or 'muddling' with some insistence allows the reason for exclusion to be reworked in the realistic form of racism. To describe the characters and the colour of their skin, both texts use a whole chromatic palette, far from being confined to 'black' and 'white'. The article therefore analyses this representation. The opposition of black and white, envisaged as social constructions on the other side, first structure these two texts. But the detailed description of the characters, on and under the skin, places them in a range of shades, neither black nor white. They forge a chromatic network, meaning, through sensory symbols or perceptions, connected to emotional states, in particular in couples where men and women leave each other out of indifferentiation, to turn out to be their own shade, between black and white. At the end of these texts, the colour is to be read twice: an emotional and empathic function in Rosie carpe, a more remote and intertextual function in Papa has to eat, highlighting the danger of using simple words for serious symbols. ; International audience ; There is no clear precision on the epidermis of the characters created by Marie Ndiaye in the texts she wrote from 1985 to 2000. In most cases, the reference reason for their hesitation is still enigmatic. However, Rosie Carpe (2001) and Papa must eat (2003) differ from this option: this novel and then this theatre explicitly name this former blind dot. The presence of characters known as 'black' or 'muddling' with some insistence allows the reason for exclusion to be reworked in the realistic form of racism. To describe the characters and the colour ...

International audience ; Discussions surrounding the Caine Prize for African Writing and the Nobel committee's apparent neglect of Africa both defend and challenge the role of prizes in a global literary marketplace. While encouraging new writing in the continent and among its diaspora, the steep growth in literary prizes in the latter half of the twentieth century is bound up with the increased commercialisation and mediatisation of art. Prize culture can reinforce normative ideas of literary value, innovation and creative expression in response to pressure from politics and commerce. This chapter will consider the colonial heritage of the main literary prize specific to African writing in French: the Grand prix littéraire de l'Afrique noire, awarded by the Association des écrivains de langue française (ADELF). The history of this association, active from 1924 to the present day under several different names, is that of contact and exchange between writers who might be assumed to occupy very different areas of colonial and postcolonial literary space. As we will argue, in the French-language context, the longer-term history of prize culture for African literature illustrates significant structures of recognition and reception in the literary field. These structures reveal the ambivalent role of this prize — and of metropolitan literary judgement more broadly — in the construction of France's postcolonial cultural narratives.

International audience ; Discussions surrounding the Caine Prize for African Writing and the Nobel committee's apparent neglect of Africa both defend and challenge the role of prizes in a global literary marketplace. While encouraging new writing in the continent and among its diaspora, the steep growth in literary prizes in the latter half of the twentieth century is bound up with the increased commercialisation and mediatisation of art. Prize culture can reinforce normative ideas of literary value, innovation and creative expression in response to pressure from politics and commerce. This chapter will consider the colonial heritage of the main literary prize specific to African writing in French: the Grand prix littéraire de l'Afrique noire, awarded by the Association des écrivains de langue française (ADELF). The history of this association, active from 1924 to the present day under several different names, is that of contact and exchange between writers who might be assumed to occupy very different areas of colonial and postcolonial literary space. As we will argue, in the French-language context, the longer-term history of prize culture for African literature illustrates significant structures of recognition and reception in the literary field. These structures reveal the ambivalent role of this prize — and of metropolitan literary judgement more broadly — in the construction of France's postcolonial cultural narratives.